Forget the tired sleigh bells and stale eggnog—Norwegian pop siren and masterful songwriter Hanne Leland is here to completely redefine your holiday soundtrack! She’s not just releasing a Christmas record; she’s gift-wrapping a brand-new emotional experience with her debut holiday album, “The Christmas Songs.” This isn’t your grandma’s collection of carols; this is a genuinely heartfelt, nine-song treasure chest, brimming with lush takes on beloved classics and, thrillingly, some stunning original holiday tracks that are bound to become new seasonal favorites. Released on November 28th, this album is a must-listen for anyone craving depth and shimmer in their festive music. Ready to dive into the sleigh ride? Let’s go track-by-track!

The title track of this album is “It’s Beginning to Look a Lot Like Christmas.” Hanne’s version often opens like a morning light — an easy, uncomplicated arpeggio or bell-like synth that immediately evokes tinsel and small domestic scenes. The first moment feels bright and intimate rather than orchestral and pageant-like. The lyric paints Christmas as a fabric of small, domestic joys — shopfronts, candy canes, and home decorations — and Hanne frames it as a nostalgia-soaked stroll through memory. The feeling is less about spectacle and more about the small details that make the season feel real and warm. She keeps production uncluttered: a clean lead vocal close to the mic, a gentle rhythmic pulse, and light holiday bells or chimes to nod to tradition. Harmonies arrive on the chorus to enlarge the emotional space, but the arrangement stays centered on the vocal story — a cozy, human reading rather than a bombastic holiday arrangement.

At number two, we have “Winter Wonderland”. This one opens with a slightly syncopated hand-clap or muted percussion that suggests movement — footsteps across a crunchy street, not just a static postcard. The initial melody feels playful and a touch mischievous. The lyrics celebrate playful winter rituals — building a snowman, whispers by the fire — and Hanne leans into that childlike delight while letting a tender undertone remain. It reads as joyful but intimately observed: fun experienced with a reflective heart. The instrumentation lends crisp acoustic percussion with light electronic pads. Hanne’s vocal phrasing bends slightly on the melody to make old lines sound conversational and current; backing vocal “oohs” or warm harmonies deepen the nostalgia without turning it syrupy. The arrangement balances swing and pop, giving it an upbeat but modern holiday sheen.

Next is the song “This Time of Year. The song opens quietly — a soft pad or faint piano chord, as if signaling an inward turn rather than an exterior celebration. The first line arrives gently, intimate and confiding. This is the pensive Christmas song on the record. Rather than bright decorations, it reflects on the emotional texture of the season: change, memory, and the way certain dates pull up old feelings. It inhabits the twilight between celebration and solitude. The Arrangement is spare and reflective: gentle piano or minimal synth bed, subtle string pads, and a vocal that leans into breath and space. Harmonies are sparse but carefully placed to underscore key emotional words — the production suggests evening and introspection rather than the daylight glee of other carols.

“When You Wish Upon a Star” is the song that follows. The intro of this single is a crystalline motif — a lone bell tone or a sustained synth line — that feels like that first glance up at the night sky. The opening is hushed and reverent. Though it is not strictly a Christmas original, the song’s lyric about hope and longing fits the season’s quiet wishes. Hanne’s take presents it as a gentle benediction: the idea that small faith and a single wish can be enough when times feel fragile. Musically, she tends to slow the tempo and place the voice front and center, letting reverb and long, delicate harmonies create a star-lit space. The arrangement is cinematic but intimate — sparse strings or warm pads, tasteful echoes, and a vocal performance that favors emotional clarity over ornamentation.

Up next is “Blue Christmas”. The song opens with A low, almost nocturnal opening: subtle bass or a mellow organ pad, hinting at loneliness from the first bar. The initial vocal line lands with a slight ache. This is the album’s admission of the season’s bittersweet side: lights and cheer outside, while inside there’s longing or heartbreak. Hanne treats the lyric as a candid confession — Christmas can be a time of wounds as much as wonder. Musically, she draws on rootsy, torch-song textures — warm, sustained chords, restrained percussion, and an emphasis on vocal color. Small production flourishes (a harmonica tinge, a distant sleigh bell used sparingly) give seasonal color, but the focus is that raw vocal truth: quiet, reverent, and heavy with feeling. (Classic song with a history of melancholic covers.)

At number six, we have “Have Yourself a Merry Little Christmas. The song opens with A tender opening chord — piano or soft guitar — that sits like a hand on the shoulder. The first phrase is paced with extra care, as though savoring each word. Musically, Hanne reads this as consolation: an appeal to tenderness in the present, acceptance of imperfect moments, and hope for gentler times ahead. The lyric’s bittersweet flip between melancholy and comfort is central, and she leans into its emotional ambiguity. Musically, the Arrangement is intimate and slightly vintage: warm reverb, close mic’d vocals, and delicate harmonic pads. Where some versions push lush orchestration, her choice is restraint — the small details (a suspended chord, a drawn-out harmony) are what make the track feel lived-in and sincere rather than polished and distant.

Up next is “White Christmas”. The song opens with a gentle, almost breathy intro: muted strings or chilled piano, evoking the hush of falling snow. The first lines land like soft flakes. The song is about Longing for an idealized past — the lyric’s yearning for a familiar, perfect Christmas is a meditation on memory. Hanne’s reading privileges tenderness over grandiosity: it’s less about spectacle and more about wanting an emotional return to simpler, quieter moments. She opts for sparse elegance: slow tempo, restrained dynamics, and intimate vocal coloration. The track sits in the lower midrange sonically so the voice feels close. Background harmonies are used to create a blanket-like warmth rather than a big chorus; the production aims for luminous, not glittery. (A standard with many famous readings; her version keeps it personal.)

The second to last song is called “Snowflake”. The song starts with a fragile piano figure or a single processed pluck that gives the sensation of something unique and fleeting appearing in the air. Although framed by holiday imagery, the lyric uses the snowflake as a metaphor for fragile, singular love or memory — someone who drifts in and out and melts away. The song explores yearning for someone who is beautiful and rare but transient. Production blends pop sensibility with ballad intimacy: verse arrangements are thin (voice + piano/soft synth), and choruses bloom into layered harmonies and a broader pad. Hanne uses quiet repetition in the bridge to emphasize haunting persistence — the repeated “I still feel you” idea becomes a textural motif, and subtle dynamic builds make the chorus landing satisfyingly aching. (Lyric transcription consulted for nuance.)

The final song is called “Let It Snow. The song is opens with An immediate, cozy rhythmic figure — perhaps a brushed snare or warm acoustic pluck — that makes you picture a fire and a close room rather than an expansive outdoor scene. The lyric is a celebration of contentment: outside may be blustery, but inside there is warmth and companionship. Hanne’s interpretation reads like a private scene — two people agreed to stay in and savor the small comfort of togetherness. Rather than the big band swing so often associated with this tune, she often takes a contemporary pop-soul approach: tightened tempo, mellow groove, and an emphasis on vocal intimacy and small harmonic turns. The arrangement keeps the warmth of the lyric (soft brass or muted horns might be simulated with synth pads) while making it feel contemporary and personal.

This collection accomplishes an Emotional arc. The record moves between light and shadow: from public, nostalgic cheer to private, melancholic reflection and ultimately to consolation. The sequencing balances up-tempo comfort songs with introspective ballads so the album feels like a real evening — social warmth alternating with quiet, honest thought. Also we have the Vocal approach: Hanne’s voice sits close and present throughout. She privileges nuance over pyrotechnics — breath, phrasing, and small micro-inflections carry the emotional weight. That makes the covers feel personal. I definitely caught the holiday bug because of this fantastic album and I am excited to hear more of the fabulous Hanne’s music!

Stream “The Christmas Songs” album on Spotify

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